For 17 reviews, this critic has graded:
  • 64% higher than the average critic
  • 0% same as the average critic
  • 36% lower than the average critic
On average, this critic grades 1.9 points higher than other critics. (0-100 point scale)

Joe Holleman's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 88 Patriot Games
Lowest review score: 25 The Bodyguard
Score distribution:
  1. Positive: 12 out of 17
  2. Negative: 3 out of 17
17 movie reviews
    • 85 Metascore
    • 88 Joe Holleman
    If you're looking for a political message, either for or against U.S. involvement in Afghanistan, this is not your movie. The directors were satisfied with telling us about a group of courageous, honorable young soldiers - a salute these men richly deserve.
    • 65 Metascore
    • 88 Joe Holleman
    School Ties offers a moving and uncompromising look at religious intolerance, narrow-mindedness and hatred. And although this movie is set in a prep school, it has more in common with ''Gentlemen's Agreement'' than with ''Dead Poets Society.'' [19 Sept 1992, p.7D]
    • St. Louis Post-Dispatch
    • 64 Metascore
    • 88 Joe Holleman
    Everything you would want in a summer action-suspense movie - and just a little bit more. The movie delivers enough thrills to satisfy all but the most hard-core adrenaline addicts. And several touches, especially the lead performance of Harrison Ford, elevate this film above the standard summer suspense offerings.[9 June 1992, p.4D]
    • St. Louis Post-Dispatch
    • 64 Metascore
    • 88 Joe Holleman
    There is much to like about this film, good performances and writing, enough true laughs for the comedy label and enough true love to keep the romance fans happy. To top it all off, the soundtrack uses Tony Bennett and Frank Sinatra at all the right moments. Try to leave this movie without humming one of the tunes on the way home. [29 July 1994, p.5F]
    • St. Louis Post-Dispatch
    • 68 Metascore
    • 75 Joe Holleman
    My Cousin Vinny would have been a moderately funny movie in any case. But with Joe Pesci in the leading role, the movie escalates several notches to a rough-and-tumble, exciting comedy and proves that Pesci is one of the most versatile actors in the business. [19 Mar 1992, p.6E]
    • St. Louis Post-Dispatch
    • 69 Metascore
    • 75 Joe Holleman
    Most of the credit for this successful effort goes to Miller, who simply pointed a camera at Levitch for hours and stayed out of the way. This laid-back direction helps Miller avoid that self-conscious "documentary" seriousness, edgy shots and editing that tells the audience that this is all so very important. [18 Dec 1998, p.E3]
    • St. Louis Post-Dispatch
    • 52 Metascore
    • 75 Joe Holleman
    This 19th Bond film has all of the required scenes, lines, gags and gadgets to keep Bond fans pleased - as well as a few new twists to update and energize it. [19 Dec 1997, p.E3]
    • St. Louis Post-Dispatch
    • 56 Metascore
    • 75 Joe Holleman
    Depp shows again that he truly understands Thompson by delivering a nuanced performance that is remarkably different, but subliminally similar, from the wonderfully outrageous turn he provided in "Fear and Loathing in Las Vegas."
    • 45 Metascore
    • 63 Joe Holleman
    More damaging is Lurie's conspicuous "red state" rant, as he makes sure that every prominent guy in this film - save for the screenwriter and the black sheriff - fits all of the Southern stereotypes. That doesn't make it a bad movie, just one that is something less than Peckinpah's original.
    • 49 Metascore
    • 63 Joe Holleman
    CB4
    The movie has some outstanding moments. Rock's performance and writing show that he appreciates rap music and its place in the culture, but he is not so respectful that he is incapable of skewering it. The movie's failings show up in the last half hour. Tamra Davis, known for directing many top music videos, lapses into predictability. The edge in the first part of the film goes dull by picture's end. And the story, written by Rock, Nelson George and Robert LoCash, becomes needlessly complicated, then meanders to a conclusion. [17 Mar 1993, p.3F]
    • St. Louis Post-Dispatch
    • 63 Metascore
    • 63 Joe Holleman
    It's not quite up to, or maybe down to, the level of the first two movies. But the movie rolls to a wildly funny climax at the Oscar presentations, where Drebin is mistaken for Phil Donahue. Surely, there are enough belly laughs and knee slaps to make this film worth your time. And stop calling me Shirley. [23 Mar 1994, p.6F]
    • St. Louis Post-Dispatch
    • 59 Metascore
    • 63 Joe Holleman
    With a deadly slow beginning and an unnecessary overload of special effects, this sequel is incredibly average, doubling the number of explosions and cinematic tricks, but cutting back on story, plot and characters. [24 May 2000, p.E4]
    • St. Louis Post-Dispatch

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